Table Of ContentMICHAEL FREEMAN
BLACK & WHITE
PHOTOGRAPHY
FIELD GUIDE
MICHAEL FREEMAN
BLACK & WHITE
PHOTOGRAPHY
FIELD GUIDE
The essential guide to the art of creating black & white images
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CONTENTS
Introduction 6 Using Hue for Vegetation 118
Skin Tones 120
THE BLACK & WHITE TRADITION 8 Specific Colors 126
Monochrome in Fine Art 10 Handling Opposites 128
The Photographic Tradition 16 Handling Adjacents 130
Wavelength & Sensitivity 20 Handling Subtleties 136
Black & White as Normality 22
Monochrome in Photography vs Painting 30 CREATIVE CHOICES 140
The Photographer’s Choice 34 Thinking in Black & White 142
Subtracting Color 42 The Range of Light: Adams & the Westons 144
Shape 44 The Long Range of Gray: Paul Strand 146
Structure 46 Mid-tones 148
Tonal Nuance 48 Contrast High 150
Form & Volume 50 Contrast Low 154
Texture 52 Shadow & Darkness: Brandt & McCullin 156
Interpretation 54 Low Key 158
Film 60 High Key & Graphic: Callahan & Hosoe 160
High Key 162
DIGITAL MONOCHROME 66 Digital Zone System 166
The Monochrome Sensor 68 HDR in Black & White 172
Linear Capture 70 Tone Mapping without HDR 180
The Clipping Problem 72 Adding Tints 182
Noise, Bit Depth, & Shading 74 Old Process Effect 184
Infrared 80
Your Processing Workflow 88 Glossary 186
Silver Efex Pro 92 Index 190
Basic Processing 96
Colors into Tones 104
Default Conversions 106
Hue Adjustment 108
Reversals of Brightness 110
Using Hue to Control Contrast 112
Using Hue for Depth & Atmosphere 114
INTRODUCTION
Black-and-white photography occupies a unique place
in the world of art and imaging, all the more surprising
because within the world of photography it is taken so
much for granted. What I will attempt in this book is to
jolt black and white out of its normally complacent
position, and in this I’m helped by the completely
changed circumstances of digital photography.
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Why complacent? Because black and because there is no way of quantifying lack &
white has become so established as this, but what is not in doubt is this: In W
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reasons for being are only rarely questioned. any other graphic art are very thin on the itio
For many people, perhaps most, ground. This is a little strange, not to say n
black-and-white photography just “is.” short-sighted, but it’s part of the reality
I just re-read a volume on the history of our photographic world. There are
of photography by Ian Jeffrey, titled historical reasons for this, as there are,
Photography: A Concise History that well, philosophical reasons.
appeared in Thames & Hudson’s World From the other side of the fence— 7
of Art series, where black and white is so the unconstrained art side—there has D
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is by no means unusual, but it is hard to to set many photographers’ teeth on on
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justify simply on the grounds that there edge, is the appropriation of photography ch
were more years spent in black and white by artists who do not claim to be rom
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than in color. It also won’t do for the primarily photographers. In other words,
modern world of digital photography, in contemporary artists invade photography
which the choice of one or the other is in more than photography invades art.
the face of every photographer each time And it is this unmistakable sense of
they decide to process on the computer. photography being its own world, very
It seems that most photographers, largely self-contained, that allows us to be
when they are shooting or processing, complacent about black and white. It’s just
inhabit a world of photography alone, and something that photography grew up with.
only a few see their work in the wider Now, however, things are on the move, which C
context of art. I have to say “seems” is what I want to explore in this book. reative C
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THE BLACK & WHITE TRADITION
Digital photography has very clearly changed the way
we can shoot in black and white, and it is perfectly
obvious that by far the most important practical
difference between a sensor and film is that now you
can have both color and monochrome from the same
shot. There is no prior choice to be made, no decision
to load black-and-white film rather than color film
before setting out.
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L
As a result, most of what is written processes, of course, weigh heavily on AC
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and discussed about digital black this tradition, and for this reason I make &
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and white focuses on the practicalities— no apology for looking at the past. Black- H
how to convert, how to adjust channels and-white film photography, its image ITE
in order to alter the brightness of qualities and processes, have a great deal TR
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different colors as they appear in to teach us. Not only this, but black-and- DIT
grayscale, how to achieve the “look” white photography is traditionally more IO
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and grain of a favored black-and-white strongly associated with art than color
emulsion, and so on. photography, and there are also lessons
All are essential and valuable topics to to learn from monochrome painting. The
study, but they skip two key issues: More common theme running through all of this 9
fundamental than the “how” of shooting is restricting the palette. What sets black D
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how to achieve all the various kinds of not pretend to represent reality. It is a on
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monochrome effect from a digital image— translation of a view into a special medium ch
and I hasten to add that this is all included with very particular characteristics. As rom
e
in this book—but what is much more we will see, there has been a changing
interesting is the choice to make the perception of black and white as a
image in black and white rather than medium in photography. Crudely put, it
in the more obvious color. began as necessity, then became accepted
This choice transcends the difference as normal, and now, with the full choice of
between sensors and film, and it draws us color (and any kind of color) coupled with
into the long and rich tradition of black- the infinite processing possibilities of
and-white photography. Film and earlier digital images, it is a creative choice.
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reative C
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